Newbold Hough Trotter (1827-1898) stands as a notable, if sometimes overlooked, figure in nineteenth-century American art. Born in Philadelphia, a burgeoning cultural and artistic center, Trotter dedicated his career to capturing the essence of the American landscape, its wildlife, and the transformative impact of human enterprise. His work, primarily in oils, offers a valuable window into the artistic sensibilities and historical currents of his time, particularly his engagement with themes of the American West, the evolving relationship between humanity and nature, and the rise of industrial progress.
Early Life and Artistic Formation
Born on January 4, 1827, in Philadelphia, Pennsylvania, Newbold Hough Trotter emerged from a city with a rich artistic heritage, home to figures like Charles Willson Peake and Thomas Sully who had established a strong tradition of painting. Trotter's artistic journey was largely one of self-direction. While he did not have a formal, extended apprenticeship under a single renowned master in the conventional sense, his development was significantly shaped by his own keen observation of the natural world. This empirical approach was a hallmark of many American artists of the period who found inspiration directly from their environment.
However, Trotter was not entirely without guidance. He received valuable instruction and assistance from William T. Van der Stroom, a Dutch painter specializing in cattle and animal subjects, while in The Hague, Netherlands. This exposure to European, particularly Dutch, animal painting traditions likely instilled in Trotter an appreciation for meticulous detail, anatomical accuracy, and the nuanced depiction of animal character. The Dutch Golden Age of painting, with artists like Paulus Potter, had long celebrated pastoral scenes and animal life with a distinctive realism, a quality that would resonate in Trotter's own work. His primary mode of study, however, remained the direct immersion in nature, sketching and painting in and around Philadelphia and later in Boston, honing his skills through persistent practice and observation.
Artistic Style and Thematic Concerns
Trotter's artistic output primarily falls within the genres of animal painting and landscape, often intertwined. His style is characterized by a strong commitment to naturalism, rendering his subjects with careful attention to detail, texture, and anatomical correctness. This was particularly evident in his depictions of animals, where he sought to capture not just their physical form but also their inherent spirit and behavior. Whether portraying domestic livestock or wild creatures of the American frontier, Trotter imbued them with a sense of vitality and presence.
A significant portion of his work engaged with the imagery of the American West. This was a potent theme in 19th-century American art, as artists ventured westward to document the majestic landscapes and the lives of Native Americans and settlers, and the rapidly changing frontier. Artists like Albert Bierstadt and Thomas Moran were creating grand, often romanticized, visions of the West, while others like George Catlin and Karl Bodmer focused on ethnographic documentation. Trotter's contributions to this genre, while perhaps not on the same epic scale as Bierstadt, nonetheless captured the drama and significance of this defining aspect of American identity.
Railroads and transportation also featured prominently in his oeuvre. This reflected the transformative power of the railway in 19th-century America, knitting together a vast continent, facilitating commerce, and symbolizing progress and ingenuity. His family connections, notably his sister Elizabeth Hough Trotter being married to John Thompson, President of the Pennsylvania Railroad, may have provided him with unique access or inclination towards these subjects. These works often went beyond mere depiction, hinting at the broader societal changes wrought by industrialization.
Key Works and Their Significance
Several works stand out in Newbold Hough Trotter's career, illustrating his thematic interests and artistic skill.
The Declining Race and The Wounded Buffalo Pursued by Wolves are powerful examples of his engagement with the wildlife of the American West. These titles themselves suggest a narrative of struggle and the often-harsh realities of nature, possibly alluding to the diminishing bison herds and the profound changes impacting the Western ecosystem and its indigenous inhabitants during this period. Such themes resonated with a public fascinated by the frontier but also increasingly aware of its fragility. These paintings would have shared thematic space with works by artists like Arthur Fitzwilliam Tait, who was also known for his dramatic hunting and wildlife scenes.
Conestoga Wagon (1883), now housed in the State Museum of Pennsylvania, is a historically significant piece. The Conestoga wagon was an iconic symbol of westward migration and early American commerce. Trotter's depiction likely celebrated this emblem of pioneering spirit and ingenuity. The painting was one of three commissioned by Henry H. Houstoun, a prominent Philadelphian, to illustrate the development of transportation in Pennsylvania. The other two in this series depicted a canal boat with a portage railway in the background, and a contemporary Pennsylvania Railroad train, possibly based on a photograph of the Rockville Bridge. This commission underscores Trotter's reputation for historical and documentary accuracy.
Other recorded works include Startled Horses (1860) and Reclining Lion (late 19th century). Startled Horses suggests his ability to capture dynamic movement and animal emotion, a skill honed through careful observation. Reclining Lion, while perhaps a subject drawn from zoo studies or artistic convention rather than direct American wildlife observation, would have allowed him to explore the classical themes of majesty and power associated with the "king of beasts," a popular subject for animaliers across Europe and America. The Meadow in Spring, an oil painting listed in a Pennsylvania Academy of the Fine Arts report, indicates his work in pure landscape, capturing the seasonal beauty of the local environment.
Exhibitions and Institutional Involvement
Newbold Hough Trotter was an active participant in the American art world, regularly exhibiting his work and holding positions in several influential art organizations. His consistent presence in major exhibitions speaks to the recognition he received from his peers and the public.
He began exhibiting at the prestigious Pennsylvania Academy of the Fine Arts (PAFA) in 1858 and continued to show his work there frequently until 1887. PAFA, founded in 1805, was the oldest art museum and school in the United States, and its annual exhibitions were crucial showcases for American artists. To be accepted into these exhibitions was a mark of professional standing. Contemporaries like Thomas Eakins, Mary Cassatt, and William Merritt Chase also had strong ties to PAFA.
Trotter also exhibited at the National Academy of Design in New York. Founded in 1825 by artists including Samuel F.B. Morse, Thomas Cole, and Asher B. Durand, the National Academy was another premier institution dedicated to promoting American art and artists. Its exhibitions drew national attention and featured the leading painters and sculptors of the day.
His work was also shown at the Boston Athenaeum and later, presumably, its offshoot, the Museum of Fine Arts, Boston. The Boston Athenaeum played a vital role in New England's cultural life, and its art gallery was a significant venue before the MFA's establishment in 1870. Exhibiting in these varied institutions across different cities broadened his exposure and solidified his reputation.
Beyond exhibiting, Trotter was deeply involved in the organizational side of the art community. He served as Vice-President of the Philadelphia Art Club, an organization that provided a social and professional hub for artists. He was President of the Artists' Fund Society of Philadelphia, a benevolent association established to support artists and their families in times of need, a testament to his commitment to the welfare of his fellow artists. Furthermore, he held the roles of Director and Secretary for the Philadelphia Society of Artists, further indicating his leadership and administrative contributions to the city's artistic life. These roles placed him at the center of Philadelphia's art scene, facilitating interactions and collaborations.
Contemporaries and the Artistic Milieu
Trotter's career unfolded during a dynamic period in American art. He would have been aware of, and likely interacted with, a wide range of artists. His direct commission from William H. Houstoun for the transportation series indicates a relationship with patrons who valued his specific skills.
His participation in exhibitions like "Westward Ho!" placed his work alongside that of other artists exploring themes of the American West. This list of fellow exhibitors provides a snapshot of the diverse talents engaged with this subject:
John James Audubon, the legendary ornithologist and painter whose Birds of America set a new standard for wildlife illustration.
Joseph Becker, an artist known for his illustrations for Frank Leslie's Illustrated Newspaper, often depicting scenes of the West and the Civil War.
George Caleb Bingham, celebrated for his luminous portrayals of life on the Missouri and Mississippi Rivers.
Charles Bird King, an important portraitist also known for his paintings of Native American delegates in Washington D.C.
Samuel Colman, a second-generation Hudson River School painter who also traveled and painted the West.
Seth Eastman, a military officer and artist whose detailed depictions of Native American life were based on years of direct observation.
Alfred Jacob Miller, one of the earliest artists to travel the Oregon Trail and paint the Rocky Mountains and its inhabitants.
William T. Ranney, known for his lively genre scenes of Western life, trappers, and pioneers.
John Mix Stanley, an artist-explorer who created a vast gallery of Native American portraits and scenes, much of which was tragically lost in a fire.
Arthur Fitzwilliam Tait, mentioned earlier, an English-born artist who became famous for his American sporting scenes, wildlife, and Currier & Ives prints.
Charles Wimar, a German-American painter who specialized in dramatic scenes of Native American life and bison hunts.
While a 2018 "American Art Fair" listing Trotter alongside artists like Joseph Stella (an Italian-American Futurist and Precisionist), Julius Leblanc Stewart (a Gilded Age expatriate painter of high society), Dwight William Tryon (a Tonalist landscape painter), Max Weber (an early American modernist), John W. Johansson, Guy Carleton Wiggins (an American Impressionist known for his New York snow scenes), Irwin Ramsey Wiles (an accomplished portraitist and figure painter), and Ralph Blakelock (a visionary landscape painter known for his moonlit scenes) primarily reflects a modern curatorial grouping of historical American art, it does place Trotter within the broader canon of American painters whose works continue to be valued and exhibited.
In Philadelphia itself, Trotter would have been contemporary with figures like Thomas Eakins, whose unflinching realism and scientific approach to anatomy set him apart, and the still-life painters of the "Philadelphia School" such as William Michael Harnett and John F. Peto. While their subject matter differed, they shared a common environment of artistic discourse and exhibition.
Personal Life and Anecdotes
Details about Trotter's personal life are somewhat scarce, but one interesting anecdote concerns his marriage. He married Anna Hough Lawrence. Both were Quakers, a significant religious community in Philadelphia known for its principles of peace, simplicity, and equality. However, they belonged to different branches of Quakerism: Trotter was a Hicksite Quaker, while Anna was an Orthodox Quaker. These two branches had diverged in the 1820s over theological interpretations and practices.
Due to the rules and potential disapproval within their respective Quaker meetings regarding marriage "out of unity" (i.e., to someone from a different branch or outside Quakerism altogether), Newbold and Anna found a pragmatic solution. They were married in an Episcopal (Anglican) church. This allowed them to formalize their union without directly contravening the disciplines of their specific Quaker meetings, though it was a departure from traditional Quaker practice. An interesting consequence of this compromise was that their descendants subsequently became Episcopalians, illustrating the subtle ways personal decisions can influence familial religious affiliations over generations.
His familial connection to the Pennsylvania Railroad through his brother-in-law, John Thompson, also provides a glimpse into his social and professional network, potentially facilitating his interest in and commissions for paintings related to transportation and industry.
Legacy and Conclusion
Newbold Hough Trotter passed away in 1898. He left behind a body of work that, while perhaps not achieving the widespread fame of some of his contemporaries like Winslow Homer or Frederic Remington, nonetheless holds a significant place in the story of American art. His paintings serve as valuable documents of their time, capturing the fauna of a changing American landscape, the spirit of westward expansion, and the visual culture surrounding the rise of industrial marvels like the railroad.
His dedication to naturalistic representation, combined with an ability to infuse his subjects with character and narrative, made him a respected animal and landscape painter. His active involvement in Philadelphia's art institutions further highlights his commitment to the artistic community. Trotter's art reflects a period of immense transformation in the United States, and his canvases provide insights into how Americans saw their nation, its natural bounty, and its technological advancements. He was a chronicler of his era, and his works continue to offer aesthetic pleasure and historical understanding to viewers today. His paintings, found in collections such as the State Museum of Pennsylvania and likely in private hands, ensure that his contribution to American art endures.
